2 Allegorical Tales from H. G. Wells

This week we have 2 stories from H.G. Wells that tell allegorical tales that do not (slight spoiler) with unhappy or ambiguous endings. What relevant lessons can we glean from them for today's world?

• The Pearl of Love – The story is a parable exploring themes of love, obsession, grief, and art.
• A Moonlight Fable – (also known as "The Beautiful Suit") first published in Collier's Weekly in April 1909, is written in the style of a fairy tale, with a simple plot and a moral lesson. The story is a poignant allegory about the fleeting nature of youth and the bittersweet nature of freedom and loss. 

Transcript

Welcome to Narrated Archives, the podcast that brings you readings of public domain works—from poetry and short stories to fascinating articles and essays. I'm your host, Sally Barron, and my goal is to share pieces of classic literature in every episode along with a brief biography of the author. This week we have 2 stories from Herbert George, H.G. Wells that tell allegorical tales with (slight spoiler) unhappy or ambiguous endings. What relevant lessons can we glean from them for today's world?

Herbert George "H. G." Wells lived from 1866–1946, and  was a prolific English writer best remembered as the "father of science fiction". Born into a lower-middle-class family, Wells received a science education under biologist T. H. Huxley and applied a Darwinian context to his writing. His early career flourished with influential "scientific romance" novels like The Time Machine (1895), The Island of Doctor Moreau (1896), and The War of the Worlds (1898). Beyond science fiction, Wells wrote in many genres, including social commentaries, histories, and comic novels that satirized English class structure.

A passionate socialist and futurist, he used his work to promote his progressive political and social views, forecasting many future events and technologies. Following the First World War, however, his outlook became increasingly pessimistic about human progress. Despite his shifting tone, his vast body of work left an enormous and enduring influence on literature, science, and political thought throughout the 20th century and beyond.

"The Pearl of Love" by H.G. Wells, published in 1925, is an allegorical tale set in ancient northern India and was inspired by medieval Persian literature about an Indian prince who finds love and then is overcome by grief, spends the rest of his life attempting to create the perfect monument to his lost love.  

The Pearl of Love

The pearl is lovelier than the most brilliant of crystalline stones, the moralist declares, because it is made through the suffering of a living creature. About that I can say nothing because I feel none of the fascination of pearls. Their cloudy lustre moves me not at all. Nor can I decide for myself upon that age-long dispute whether the Pearl of Love is the cruellest of stories or only a gracious fable of the immortality of beauty.

Both the story and the controversy will be familiar to students of mediaeval Persian prose. The story is a short one, though the commentary upon it is a respectable part of the literature of that period. They have treated it as a poetic invention and they have treated it as an allegory meaning this, that, or the other thing. Theologians have had their copious way with it, dealing with it particularly as concerning the restoration of the body after death, and it has been greatly used as a parable by those who write about aesthetics. And many have held it to be the statement of a fact, simply and baldly true.

The story is laid in North India, which is the most fruitful soil for sublime love stories of all the lands in the world. It was in a country of sunshine and lakes and rich forests and hills and fertile valleys; and far away the great mountains hung in the sky, peaks, crests, ridges of inaccessible and eternal snow. There was a young prince, lord of all the land; and he found a maiden of indescribable beauty and delightfulness and he made her his queen and laid his heart at her feet. Love was theirs, full of joys and sweetness, full of hope, exquisite, brave and marvellous love, beyond anything you have ever dreamt of love. It was theirs for a year and part of a year, and then suddenly, because of some venomous sting that came to her in a thicket, she died.

She died and for a while the prince was utterly prostrated. He was silent and motionless with grief. They feared he might kill himself, and he had neither sons nor brothers to succeed him. For two days and nights he lay upon his face, fasting, across the foot of the couch which bore her calm and lovely body. Then he arose and ate, and went about very quietly like one who has taken a great resolution. He caused her body to be put in a coffin of lead mixed with silver, and for that he had an outer coffin made of the most precious and scented woods wrought with gold, and about that there was to be a sarcophagus of alabaster, inlaid with precious stones. And while these things were being done he spent his time for the most part by the pools and in the garden-houses and pavilions and groves and in those chambers in the palace where they two had been most together, brooding upon her loveliness. He did not rend his garments nor defile himself with ashes and sackcloth as the custom was, for his love was too great for such extravagances. At last he came forth again among his councillors and before the people, and told them what he had a mind to do.

He said he could never more touch woman, he could never more think of them, and so he would find a seemly youth to adopt for his heir and train him to his task, and that he would do his princely duties as became him; but that for the rest of it, he would give himself with all his power and all his strength and all his wealth, all that he could command, to make a monument worthy of his incomparable, dear, lost mistress. A building it should be of perfect grace and beauty, more marvellous than any other building had ever been or could ever be, so that to the end of time it should be a wonder, and men would treasure it and speak of it and desire to see it and come from all lands of the earth to visit and recall the name and memory of his queen. And this building he said was to be called the Pearl of Love.

And this his councillors and people permitted him to do, and so he did.

Year followed year, and all the years he devoted himself to building and adorning the Pearl of Love. A great foundation was hewn out of the living rock in a place whence one seemed to be looking at the snowy wilderness of the great mountains across the valley of the world. Villages and hills there were, a winding river, and very far away three great cities. Here they put the sarcophagus of alabaster beneath a pavilion of cunning workmanship; and about it there were set pillars of strange and lovely stone and wrought and fretted walls, and a great casket of masonry bearing a dome and pinnacles and cupolas, as exquisite as a jewel. At first the design of Pearl of Love was less bold and subtle than it became later. At first it was smaller and more wrought and encrusted; there were many pierced screens and delicate clusters of rosy-hued pillars, and the sarcophagus lay like a child that sleeps among flowers. The first dome was covered with green tiles, framed and held together by silver, but this was taken away again because it seemed close, because it did not soar grandly enough for the broadening imagination of the prince.

For by this time he was no longer the graceful youth who had loved the girl queen. He was now a man, grave and intent, wholly set upon the building of the Pearl of Love. With every year of effort he had learnt new possibilities in arch and wall and buttress; he had acquired greater power over the material he had to use and he had learnt of a hundred stones and hues and effects that he could never have thought of in the beginning. His sense of colour had grown finer and colder; he cared no more for the enamelled gold-lined brightness that had pleased him first, the brightness of an illuminated missal; he sought now for blue colouring like the sky and for the subtle hues of great distances, for recondite shadows and sudden broads floods of purple opalescence and for grandeur and space. He wearied altogether of carvings and pictures and inlaid ornamentation and all the little careful work of men. “Those were pretty things,” he said of his earlier decorations; and had them put aside into subordinate buildings where they would not hamper his main design. Greater and greater grew his artistry. With awe and amazement people saw the Pearl of Love sweeping up from its first beginnings to a superhuman breadth and height and magnificence. They did not know clearly what they had expected, but never had they expected so sublime a thing as this. “Wonderful are the miracles,” they whispered, “that love can do,” and all the women in the world, whatever other loves they had, loved the prince for the splendour of his devotion.

Through the middle of the building ran a great aisle, a vista, that the prince came to care for more and more. From the inner entrance of the building he looked along the length of an immense pillared gallery and across the central area from which the rose-hued columns had long since vanished, over the top the pavilion under which lay the sarcophagus, through a marvellously designed opening, to the snowy wilderness of the great mountain, the lord of all mountains, two hundred miles away. The pillars and arches and buttresses and galleries soared and floated on either side, perfect yet unobtrusive. When men saw that austere beauty for the first time they were exalted, and then they shivered and their hearts bowed down. Very often would the prince come to stand there and look at that vista, deeply moved and not yet fully satisfied. The Pearl of Love had still something for him to do, he felt, before his task was done. Always he would order some little alteration to be made or some recent alteration to be put back again. And one day he said that the sarcophagus would be clearer and simpler without the pavilion; and after regarding it very steadfastly for a long time, he had the pavilion dismantled and removed.

The next day he came and said nothing, and the next day and the next. Then for two days he stayed away altogether. Then he returned, bringing with him an architect and two master craftsmen and a small retinue.

All looked, standing together silently in a little group, amidst the serene vastness of their achievement. No trace of toil remained in its perfection. It was as if God of nature’s beauty had taken over their offspring to himself.

Only one thing there was to mar the absolute harmony. There was a certain disproportion about the sarcophagus. It had never been enlarged, and indeed how could it have been enlarged since the early days? It challenged the eye; it nicked the streaming lines. In that sarcophagus was the casket of lead and silver, and in the casket of lead and silver was the queen, the dear immortal cause of all this beauty. But now that sarcophagus seemed no more than a little dark oblong that lay incongruously in the great vista of the Pearl of Love. It was as if someone had dropped a small valise upon the crystal sea of heaven.

Long the prince mused, but no one knew the thoughts that passed through his mind.

At last he spoke. He pointed.

“Take that thing away,” he said.

H.G. Wells' short story, "A Moonlight Fable" (also known as "The Beautiful Suit"), first published in Collier's Weekly in April 1909, is written in the style of a fairy tale, with a simple plot and a moral lesson. The story is a poignant allegory about the fleeting nature of youth and the bittersweet nature of freedom and loss. 

A Moonlight Fable

There was once a little man whose mother made him a beautiful suit of clothes. It was green and gold and woven so that I cannot describe how delicate and fine it was, and there was a tie of orange fluffiness that tied up under his chin. And the buttons in their newness shone like stars. He was proud and pleased by his suit beyond measure, and stood before the long looking-glass when first he put it on, so astonished and delighted with it that he could hardly turn himself away.

He wanted to wear it everywhere and show it to all sorts of people. He thought over all the places he had ever visited and all the scenes he had ever heard described, and tried to imagine what the feel of it would be if he were to go now to those scenes and places wearing his shining suit, and he wanted to go out forthwith into the long grass and the hot sunshine of the meadow wearing it. Just to wear it! But his mother told him, “No.” She told him he must take great care of his suit, for never would he have another nearly so fine; he must save it and save it and only wear it on rare and great occasions. It was his wedding suit, she said. And she took his buttons and twisted them up with tissue paper for fear their bright newness should be tarnished, and she tacked little guards over the cuffs and elbows and wherever the suit was most likely to come to harm. He hated and resisted these things, but what could he do? And at last her warnings and persuasions had effect and he consented to take off his beautiful suit and fold it into its proper creases and put it away. It was almost as though he gave it up again. But he was always thinking of wearing it and of the supreme occasion when some day it might be worn without the guards, without the tissue paper on the buttons, utterly and delightfully, never caring, beautiful beyond measure.

One night when he was dreaming of it, after his habit, he dreamed he took the tissue paper from one of the buttons and found its brightness a little faded, and that distressed him mightily in his dream. He polished the poor faded button and polished it, and if anything it grew duller. He woke up and lay awake thinking of the brightness a little dulled and wondering how he would feel if perhaps when the great occasion (whatever it might be) should arrive, one button should chance to be ever so little short of its first glittering freshness, and for days and days that thought remained with him, distressingly. And when next his mother let him wear his suit, he was tempted and nearly gave way to the temptation just to fumble off one little bit of tissue paper and see if indeed the buttons were keeping as bright as ever.

He went trimly along on his way to church full of this wild desire. For you must know his mother did, with repeated and careful warnings, let him wear his suit at times, on Sundays, for example, to and fro from church, when there was no threatening of rain, no dust nor anything to injure it, with its buttons covered and its protections tacked upon it and a sunshade in his hand to shadow it if there seemed too strong a sunlight for its colours. And always, after such occasions, he brushed it over and folded it exquisitely as she had taught him, and put it away again.

Now all these restrictions his mother set to the wearing of his suit he obeyed, always he obeyed them, until one strange night he woke up and saw the moonlight shining outside his window. It seemed to him the moonlight was not common moonlight, nor the night a common night, and for a while he lay quite drowsily with this odd persuasion in his mind. Thought joined on to thought like things that whisper warmly in the shadows. Then he sat up in his little bed suddenly, very alert, with his heart beating very fast and a quiver in his body from top to toe. He had made up his mind. He knew now that he was going to wear his suit as it should be worn. He had no doubt in the matter. He was afraid, terribly afraid, but glad, glad.

He got out of his bed and stood a moment by the window looking at the moonshine-flooded garden and trembling at the thing he meant to do. The air was full of a minute clamor of crickets and murmurings, of the infinitesimal shouting of little living things. He went very gently across the creaking boards, for fear that he might wake the sleeping house, to the big dark clothes-press wherein his beautiful suit lay folded, and he took it out garment by garment and softly and very eagerly tore off its tissue-paper covering and its tacked protections, until there it was, perfect and delightful as he had seen it when first his mother had given it to him—a long time it seemed ago. Not a button had tarnished, not a thread had faded on this dear suit of his; he was glad enough for weeping as in a noiseless hurry he put it on. And then back he went, soft and quick, to the window and looked out upon the garden and stood there for a minute, shining in the moonlight, with his buttons twinkling like stars, before he got out on the sill and, making as little of a rustling as he could, clambered down to the garden path below. He stood before his mother’s house, and it was white and nearly as plain as by day, with every window-blind but his own shut like an eye that sleeps. The trees cast still shadows like intricate black lace upon the wall.

The garden in the moonlight was very different from the garden by day; moonshine was tangled in the hedges and stretched in phantom cobwebs from spray to spray. Every flower was gleaming white or crimson black, and the air was aquiver with the thridding of small crickets and nightingales singing unseen in the depths of the trees.

There was no darkness in the world, but only warm, mysterious shadows; and all the leaves and spikes were edged and lined with iridescent jewels of dew. The night was warmer than any night had ever been, the heavens by some miracle at once vaster and nearer, and spite of the great ivory-tinted moon that ruled the world, the sky was full of stars.

The little man did not shout nor sing for all his infinite gladness. He stood for a time like one awe-stricken, and then, with a queer small cry and holding out his arms, he ran out as if he would embrace at once the whole warm round immensity of the world. He did not follow the neat set paths that cut the garden squarely, but thrust across the beds and through the wet, tall, scented herbs, through the night stock and the nicotine and the clusters of phantom white mallow flowers and through the thickets of southern-wood and lavender, and knee-deep across a wide space of mignonette. He came to the great hedge and he thrust his way through it, and though the thorns of the brambles scored him deeply and tore threads from his wonderful suit, and though burs and goosegrass and havers caught and clung to him, he did not care, for he knew it was all part of the wearing for which he had longed. “I am glad I put on my suit,” he said; “I am glad I wore my suit.”

Beyond the hedge he came to the duck-pond, or at least to what was the duck-pond by day. But by night it was a great bowl of silver moonshine all noisy with singing frogs, of wonderful silver moonshine twisted and clotted with strange patternings, and the little man ran down into its waters between the thin black rushes, knee-deep and waist-deep and to his shoulders, smiting the water to black and shining wavelets with either hand, swaying and shivering wavelets, amid which the stars were netted in the tangled reflections of the brooding trees upon the bank. He waded until he swam, and so he crossed the pond and came out upon the other side, trailing, as it seemed to him, not duckweed, but very silver in long, clinging, dripping masses. And up he went through the transfigured tangles of the willow-herb and the uncut seeding grass of the farther bank. And so he came glad and breathless into the highroad. “I am glad,” he said, “beyond measure, that I had clothes that fitted this occasion.”

The highroad ran straight as an arrow flies, straight into the deep blue pit of sky beneath the moon, a white and shining road between the singing nightingales, and along it he went, running now and leaping, and now walking and rejoicing, in the clothes his mother had made for him with tireless, loving hands. The road was deep in dust, but that for him was only soft whiteness, and as he went a great dim moth came fluttering round his wet and shimmering and hastening figure. At first he did not heed the moth, and then he waved his hands at it and made a sort of dance with it as it circled round his head. “Soft moth!” he cried, “dear moth! And wonderful night, wonderful night of the world! Do you think my clothes are beautiful, dear moth? As beautiful as your scales and all this silver vesture of the earth and sky?”

And the moth circled closer and closer until at last its velvet wings just brushed his lips . . . . .

And next morning they found him dead with his neck broken in the bottom of the stone pit, with his beautiful clothes a little bloody and foul and stained with the duckweed from the pond. But his face was a face of such happiness that, had you seen it, you would have understood indeed how that he had died happily, never knowing the cool and streaming silver for the duckweed in the pond.

I hope you enjoyed these timeless pieces of storytelling by H.G. Wells on Narrated Archives.

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Next week, we’ll be featuring a story of boyhood’s fantasy of adventure by Willa Cather with her wonderful description of place and landscape.  

Until then, thank you for listening.